are in profile.  The same distortion occurs in a second metope of this same temple, representing Heracles carrying off two prankish dwarfs who had tried to annoy him, and is in fact common in early Greek work.  We have met something similar in Egyptian reliefs and paintings (cf. page 33), but this method of representing the human form is so natural to primitive art that we need not here assume Egyptian influence.  The garments of Perseus and Athena show so much progress in the representation of folds that one scruples to put this temple back into the seventh century, as some would have us do.  Like the poros sculptures of Attica, these Selinus metopes seem to have been covered with color.

Fig. 85 takes us back again to the island of Delos, where the statue came to light in 1877.  It is of Parian marble, and is considerably less than life-sized.  A female figure is here represented, the body unnaturally twisted at the hips, as in the Selinus metopes, the legs bent in the attitude of rapid motion.  At the back there were wings, of which only the stumps now remain.  A comparison of this statue with similar figures from the Athenian Acropolis has shown that the feet did not touch the pedestal, the drapery serving as a support.  The intention of the artist, then, was to represent a flying figure, probably a Victory.  The goddess is dressed in a chiton (shift), which shows no trace of folds above the girdle, while below the girdle, between the legs, there is a series of flat, shallow ridges.  The face shows the usual archaic features—­the prominent eyeballs, cheeks, and chin, and the smiling mouth.  The hair is represented as fastened by a sort of hoop, into which metallic ornaments, now lost, were inserted.  As usual, the main mass of the hair falls straight behind, and several locks, the same number on each side, are brought forward upon the breast.  As usual, too, the front hair is disposed symmetrically; in this case, a smaller and a larger flat curl on each side of the middle of the forehead are succeeded by a continuous tress of hair arranged in five scallops.

If, as has been generally thought, this statue belongs on an inscribed pedestal which was found near it, then we have before us the work of one Archermus of Chios, known to us from literary tradition as the first sculptor to represent Victory with wings.  At all events, this, if a Victory, is the earliest that we know.  She awakens our interest, less for what she is in herself than because she is the forerunner of the magnificent Victories of developed Greek art.

Thus far we have not met a single work to which it is possible to assign a precise date.  We have now the satisfaction of finding a chronological landmark in our path.  This is afforded by some fragments of sculpture belonging to the old Temple of Artemis at Ephesus.  The date of this temple is approximately fixed by the statement of Herodotus (I, 92) that most of its columns were picsented by Croesus, king of